Archaeoastronomy and Ancient Technologies 2014, 2(2), 66 – 102; http://aaatec.org/art/a_ge3 www.aaatec.org ISSN 2310-2144 Zurvanite Iconographic Canon. Astronomy and Mythology. Vitalij E. Larichev 1†, Sergey A. Parshikov 2, Elena G. Gienko 3 1 Institute of Archaeology and Ethnography of SB RAS, Novosibirsk, Russian Federation. 2 NO "Environmental center of rational management of natural resources" (NO EC RMNR), Krasnoyarsk, Russian Federation. 3 Siberian State Academy of Geodesy, Plakhotnogo st.10, Novosibirsk, Russian Federation; E-mail: [email protected] Abstract This article reveals the results of the study of iconographic canon of Zurvanite mythologem belonging to the worldwide myths, comprising the myth of the divine twins. The following reasons make the theme relevant: 1. There is no iconographic canon Zurvanite mythologem which is universally accepted by modern Iranian studies; 2.Saratsk petroglyphic composition of XVIII-XVII centuries BC (Minusinsk Basin of Siberia) in Khakassia that we have defined as the earliest of all supposed images of Zurvanite myth; 3. The significance of Zurvanite myths in the process of monotheistic theology’s forming. In our work we have come to the conclusion that the creators of Saratsk petroglyphic composition were the bearers of the Andronovo cultural-historical community who came to the territory of Khakassia in XVIII-XVII centuries BC. In the processes of semantic disclosure of mythologem of the symbols of Saratsk petroglyphic composition due to the fact that Andronovs belonged to the circle of Aryan tribes confederation we relied on the text of the Avesta, Pahlavi texts and medieval authors mentioned in Zurvanite mythologem. Studies have shown that the spatial distribution of Saratsk petroglyphic composition corresponds to the astronomically significant areas of the Saratsky Sunduk sanctuary which is a "classical" Iranian-Aryan vara (protective slab separatings the sacred world from the real world - profane) located on the top of the Saratsky Sunduk mountain. Sacred Astronomy built in the structure of the sanctuary by its creators confirms our assumption of Zurvanite content of Saratsky petroglyphic composition’s semantics. In addition the study of the nature of the images of Saratsk composition revealed the principles of "sacred" geometry in the composition structure of Zurvanite iconographic canon. Keywords: Zurvanite iconographic canon, Andronovo culture, Zurvan Akarana, Zurvan Dargahvadata, Ahura Mazda, Angra Mainyu. Archaeoastronomy and Ancient Technologies 2014, 2(2), 66 – 102 67 Introduction Zurvan Akarana means boundless, limitless time. He also personifies eternal and endless principle of unity in Nature. He could be called the Ein Sof of Zoroastrians – an incognazible deity, from whom emanates Ahura Mazda, an eternal light and logos, which is the cause of all things. According to current point of views, dogmatic Zurvanism didn’t have any canonization. Zurvan could be both considered as gendered or androgynous god. (Dictionary of mythological terms) A hymn dedicated to the god of Time is presented in Iranian Bundahishn (BD): «Time is more powerful than both the creations, the creation of Ohrmazd and even that of the Evil Spirit; Time is accessible for work and regulation; of accessible beings, Time is the most accessible; of beings worth inquiry, Time is the most worthy of inquiry," -- that is, determination can be made by Time--; "It is by Time that a temporal dwelling is erected; by Time, the ornamented is dilapidated; and of mortal men, none can escape from it, neither when he flies above, nor when he digs a well in the depth below and sits within it, nor when he goes down underneath the spring of cold water» (Iranian Bundahishn), [1]. From Pahlavi texts and a 13th-century source ―Ulema-i Islam‖ [2] – i.e. “an exposition of the constitution of the world and of the soul of man from the beginning up to eternity”, we know about dichotomous structure of a time stream that was symbolized through Zurvan, a creator god. The dichotomy of Zurvan was represented by two hypostases: I. Zurvan Akarana – a time of spiritual pre- and post- existence: «except Time all other things have been created and Time is the Creator. Time is without bounds; its top is undiscoverable; its bottom is undiscoverable; it has always existed and it shall ever be». [2, 3]; II . Zurvan Dargahvadata – a time of things existent (“time and the supreme decree of self- existent eternity” [MH, XVII]1: “Then, out of Infinite Time, He produced forth Time which is the Lord of duration -- there is someone who calls it Finite Time” [BD, 1.39]. «For, verily, Time, which is the Lord of duration, is the first creature that He created forth; on account of that is it infinite that, from the original creation, when He created the creatures, up to the end, when the Evil Spirit will be inactive, is a cycle of twelve thousand years, that is finite, which will finally mingle with and be transformed to infinity» [BD, 1.42 ]. There is also no general Zurvanite mythologem, which would be recognized by the majority of experts. From all the artifacts which are supposedly connected to Zurvanism, in all the museums around the world, the most famous is a plaque from Lorestan (VIII - VII centuries BC) in the Cincinnati Art Museum (Fig. 1), which was interpreted by R. Girshman [4] as a picture representing a Zurvanite myth. It should be noted that the majority of iranologists disagreed with his point of view. The composition illustrates a horizontally expanded mythologem, depicting three anthropomorphic deities in its central part (Fig. 1) and three groups of deities arranged asymmetrically to the left and to the right of the central triad. The central ―trinity‖ consists of a deity and two mirror-symmetric anthropomorphic creatures that grow from the deity’s beard, looking to opposite directions. 1 The abbreviations of the names of the Pahlavi texts, explanations for them are given in the Application at the end of the article Archaeoastronomy and Ancient Technologies 2014, 2(2), 66 – 102 68 Figure 1. Zurvanite composition from the Cincinnati Art Museum. Lorestan (VIII – VII centuries BC) [4]. One of the gaps in our knowledge about Zurvanite theologem is a lack of universally accepted canon for iconographic images of Zurvan and his sons – Ahura Mazda and Angra Mainyu. Figure 2. Lorestan composition XII?-X centuries BC. [Museum Rietberg Zurich. Drawing with a photo of the artifact from the Museum Rietberg by C. Karlov] Archaeoastronomy and Ancient Technologies 2014, 2(2), 66 – 102 69 The composition of that image denotes that central anthropomorphic god is the supreme god in relation to gods he brings to birth from the left and right parts of the composition. Less known, but not less expressive is a bronze plate from Lorestan in the Rietberg Museum in Zurich (Fig. 2) that presumably depicts Zurvan with his sons Ahura Mazda and Angra Mainyu. The Zurvanite nature of these two Lorestan compositions’ mythological semantics suddenly found its confirmation in the petroglyphs of Khakasia dated II millennium BC. Petroglyphic composition from Saratsky Sunduk sanctuary Consider the following example of a petroglyphic composition from Saratsky Sunduk (means ―chest‖, ―trunk‖) sanctuary [5] as a prove of the statement mentioned earlier. This composition, which has long been known to researchers, is located in a Bely Iyus River valley, in Ordzhinekidzevskiy district of Khakasia. Figure 3. Petroglyphic composition depicting Zurvanite myth. Saratsky Sunduk sanctuary. Khakasia (XVIII – XVII centuries BC). The image of a deity in the center of the composition (Fig. 3) clearly indicate the connection to okunev culture (second half of III, beginning of II millennium BC), found in Khakasia [6,7,8,9]. Furthermore, stylistic and semantic features of the Saratsky composition indicate that it was created no sooner than the beginning of the II millennium BC, i.e. at the final stage of okunev culture. The mythologem depicted on the vertical plane of Devonian sandstone (Fig. 3) is a horizontally structured composition that shows a triad of deities. The triad is formed by a face of Archaeoastronomy and Ancient Technologies 2014, 2(2), 66 – 102 70 a deity, related to okunev culture in the center and two anthropomorphic deities that are untypical for okunev culture, placed symmetrically on the left and on the right sides from the central part. One of the anthropomorphic gods, arranged on the right side of composition (from an observer’s view point) touches the face of the central god with his right hand. Another one, arranged on the left, is stretching out his left hand to the crown of the god. The face of the central deity is segmented by two transverse horizontal lines into three parts. The semantics of anthropomorphic images and the central image represents a combination of dualistic twin motif with a sacred triad of three levels of creation from Irano-Aryan mythology. We believe that the story depicted in Saratsky petroglyphic composition belongs to Zurvanism on the basis of mythologem basis as well as to Zurvanite-Mazdean theologem basis. Analysis of the Saratsky composition’s possible timeline shows with high probability that it was created by people of fedorovo culture (andronovo cultural and historical community), who came to the territory Khakassia in XVIII centuries BC [10]. During the last 9 years we have conducted researches at the three sanctuaries of North Khakassia – the Saratsky Sunduk, the Seraphim Stone and the First Sunduk that are located in a direct line of sight of each other, to determine the chronology of the functioning of these cult centers using astronomical methods. Absolute stellar chronology for these sanctuaries [11,12] determines the time of their functioning as astronomical cult centers in the XIX – XIV centuries BC. It turned out that the structure of these sanctuaries built of stone slabs and astronomically significant menhirs, contain not only solar (observation of equinoxes and solstices) and lunar (making calendars based on observations of lunar cycles) astronomical points, but also objects to observe astromechanics.